Balaur

The slow pace, deliberate classicism, and thematics of this debut film would easily serve as arguments for shipping it off as "another one of those East European dramas" that have been practically mass-produced in recent years. This would be to overlook the fact that Chelaru's feature film unmasks the patriarchal workings with astonishing maturity, often at the turn of a shot or a dialogue.

Passed under all the major radars, this story about the perilous relationship between a Religion teacher married to an Orthodox priest and one of her underage students certainly does not have the subversive charge of a Radu Jude, but can boast of a beautiful suspense where we can guess the influence of Michael Haneke.

The fear of infidelity is the theme of Balaur (2021), based on a real from Piatra Neamt, where a religion teacher, wife of a priest, was involved in a public scandal after a relationship with one of her students. Because Transilvania Film Festival offers this extraordinary opportunity to meet the makers of a film immediately after the screening, Balaur (2021) seemed to me an even more impressive directorial debut listening to the way Octav Chelaru argued his cinematic choices and seeing the unity of his team of actors including Alexandru Papadopol, Sergiu Smerea and Mãlina Manovici, protagonists who, I have no doubt, will receive some awards for this interpretation. Liana Alexandru.

Well, a very complicated film by its message, its feelings, by what the characters think and do. Especially since I have always considered that in a relationship, and in an adultery, there are always two parties who are wrong, who cross certain thresholds and limits. Not only one of the parties is guilty, and when it comes to adultery there are actually several parties involved and even... guilty.

So we have: a rather honest and reclusive priest; a wife who is both the priest's wife and a religion teacher at a high school, quite knowledgeable and willing to discuss not only Orthodox morality, but also life issues; a very free high school student, because he comes from a school in Germany, who at the same time asks questions, but is also eager to change the order of things.

Until love or desire intervenes in this triangle. Or immaturity. So, "When does freedom become dangerous? When it gives birth to inner monsters?" And at the age of immaturity, any reaction is dangerous, because it is, first of all, ...immature. A very complicated film, as I said, to see and discuss.

A Romanian thriller of great emotional intensity, inspired by a real and difficult story. It doesn't even matter that it takes place in a Romanian city. It could be from anywhere. This is excellent. It does not present the gloomy universe like the average Romanian. I was hugely impressed by the young actor Sergiu Smerea (Iuliu, the 16-year-old). Strange, passionate, able to look into the depth of another person, but also into the abyss of a world where people play their own lives inauthentically, but conforming. Very good Mãlina Manovici (Ecaterina, religion teacher). She embodies a domesticated shadow, passionately-dangerously awakened, if only for a moment, to a life that is not allowed to it. Very good Alexandru Papadopol (the priest Dragos). He is the born domesticated on whom life plays a tragic farce. The film is in the previews stage (TIFF, Sibiu an others). From September, it will take the path of big or small screens. Needless to say, I think you're missing out if you don't experience this cinematic experience. Mihaela Miroiu.

A truly enjoyable cinema experience. It has humour, tension, rhythm and very, very good performances from all the main cast. Alexandru Papadopol is very convincing as a the dispassionate priest.